摘要
为全面了解三星堆出土带彩青铜器施彩工艺,利用体视显微镜观察、偏光显微镜观察、拉曼光谱分析、扫描电镜-能谱分析及热裂解气相色谱-质谱联用分析等科学检测手段,对三星堆祭祀坑第二次发掘出土的13件带彩青铜器表面彩绘装饰工艺进行了系统研究。研究结果表明,13件带彩器物上共有两种颜料:红色颜料为朱砂,黑色颜料为炭黑;施彩工艺以阴刻填纹和表面涂绘为主,表面涂绘使用了单层或多层彩绘装饰,最多处可见三层双色彩绘,部分可见接笔痕迹,推测使用了毛笔一类的工具。该研究为进一步揭示三星堆祭祀坑出土铜器施彩装饰技术提供了新的证据。
To achieve a comprehensive understanding of the coloring techniques used on bronzes unearthed at Sanxingdui,this study focuses on newly discovered bronzes with colored decorations from the No.3,No.7 and No.8 sacrificial pits excavated during the second round of archaeological work at the Sanxingdui Site.Pigment fragments and powders that had detached and could not be reattached,as well as black substances on the bronze surface that could not be visually identified as pigments were collected and analyzed.Scientific methods—including stereo microscopy,polarized light microscopy,Raman spectrometry,scanning electron microscopy-energy dispersive spectrometry,pyrolysis gas chromatography-mass spectrometry,among others—were employed to systematically investigate the surface coloring and decorative process of 13 painted bronzes.The objective of this research is to provide comprehensive information on the pigments and technical characteristics of color application at the Sanxingdui Site.Microscopic observation,elemental analysis and organic residue testing of different samples revealed that on the painted bronzes,cinnabar was used as the red pigment,while carbon black was used as the black pigment.The cinnabar particles were relatively larger and lacked associated minerals,indicating that they were natural mineral pigments produced through grinding and cleaning,though the grinding process had not yet reached refinement achieved by the later“water flying”technique.In contrast,the carbon black pigment particles were finer,and their adhesion to the bronze surface was generally stronger.It was observed that the black patterns exhibited clear variations in shade and fineness,with visible starting points,turns,and joints of brushstrokes,as well as lines of differing thickness.Under the microscope,the strokes were evident,and the pigment layers overlapped,suggesting that the design was applied with a brush-type tool.Meanwhile,our findings indicate that the colored bronzes employed two distinct coloring techniques:filling and painting.The painting technique could be further divided into three sub-types:single-layer,double-layer and multi-layer painting.To better understand the painting process,simulated painting experiments were carried out using frosted glass sheets as carriers,focusing on paint thickness.For these experiments,cinnabar was simply ground to mimic the fragile state of the excavated artifacts.The cinnabar pigment was prepared with bone glue as a binder(ratio of glue to pigment being 1∶50)and the pigment was applied uniformly with a flat-tip brush approximately 10 mm wide.After three layers,the thickness of the cinnabar layer measured approximately 60μm under a super depth-of-field microscope.Bronze,as a dense and extremely smooth surface,poses challenges for pigment adhesion;insufficient binder or too few layers results in pigment flow,incomplete coverage,and weak attachment.These cinnabar-decorated bronzes unearthed from the sacrificial pits of Sanxingdui feathered larger cinnabar particles,a rich color palette,and pigment layers exceeding 100μm in thickness,indicating the use of substantial binder and multiple color applications.Furthermore,patterns were primarily created with cinnabar.In some instances,carbon black was used as the base color,with cinnabar subsequently applied thereon.Besides,for a few objects,the black pigment was applied again on the red painting to form a black-red-black three-layer painting,creating a striking contrast.The use of the finer carbon black pigment as the base ensured the particular firmness of cinnabar on the object surface.To sum up,the colored bronzes unearthed from the sacrificial pits of Sanxingdui are numerous,have a long history,and were decorated with both filling and painting techniques.The types of decoration are diverse,and the coloring processes show considerable flexibility,with patterns closely reflecting the local aesthetics and painting skills of the time.The presence of larger cinnabar particles suggests that the grinding and sieving techniques for cinnabar were still in an early stage of development.The smoothness of lines and the intricacy of the patterns rendered in carbon black depended largely on the individual aesthetic and painting abilities of the artisans,indicating that a unified and standardized production and processing system had not yet been established.This research provides important insights into the evolution of decorative techniques in ancient Chinese bronzes.
作者
刘江卫
朱思颖
郑芦
惠娜
李晓溪
杜维莎
黄建华
夏寅
肖庆
周萍
LIU Jiangwei;ZHU Siying;ZHENG Lu;XI Na;LI Xiaoxi;DU Weisha;HUANG Jianhua;XIA Yin;XIAO Qing;ZHOU Ping(Emperor Qin Shihuang’s Mausoleum Site Museum,Xi’an 710600,China;Key Scientific Research Base of Ancient Polychrome Pottery Conservation(Emperor Qin Shihuang’s Mausoleum Site Museum),Xi’an 710600,China;Sichuan Provincial Institute of Cultural Relics and Archaeology,Chengdu 610041,China)
出处
《文物保护与考古科学》
北大核心
2025年第5期21-34,共14页
Sciences of Conservation and Archaeology
基金
陕西省重点研发计划(2022LL-ZD-01)
秦始皇帝陵博物院青年开放课题(Qkfkt202414)资助。
关键词
三星堆
颜料
青铜器
Sanxingdui
Pigment
Bronze
